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Freytag's Technique of the Drama : an Exposition of Dramatic Composition

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Freytag's Technique of the Drama : an Exposition of Dramatic Composition Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/freytagstechniquOOfreyuoft FREYTAG'S TECHNIQUE OF THE DRAMA AN EXPOSITION OF DRAMATIC COMPOSITION AND ART Dr. GUSTAV FREYTAG AN AUTHORIZED TRANSLATION FROM THE SIXTH GERMAN EDITION BY ELIAS J. MacEWAN, M.A. TITIRD EDITION. r/'l CHICAGO SCOTT, FORESMAN AND COMPANY 1900 Pli Fn COPYRIGHT, 1894 By S. C. GRIGGS & COMPANY PRESS OF THE HENRY O. SHEPARD CO CHICAGO CONTENTS. Biographical Note. - - ^ - -vii-ix Introduction. — Technique of the drama not absolute. Cer- tain craftsman's skill of earlier times. Condition of present time. Aristotle's Poetics. Lessing. The great dramatic works as models. - . - i-g CHAPTER I. — DRAMATIC ACTION. 1. The Idea. — How the drama originates in the mind of the poet. Development of the idea. Material and its trans- formation. The historian and the poet. The range of material. Transformation of the real, according to Aris- totle. ---..-- g-i8 2. What is Dramatic? — Explanation. Effg,Cts« Characters. The action. The dramatic life of the characters. Entrance of the dramatic into the life of men. Rareness of dramatic power. ------- ig-27 3. Unity. — The Law. Among the Greeks. How it is pro- duced. How the unity of historical material is not secured. False unity. Where dramatic material is to be found. The character in the modern drama. Counter-play and its danger. Episodes. ----- 27-49 4. Probability. — What is probable. Social effects of the drama. The strange. The marvellous. Mephistopheles. The irrational. Shakespeare and Schiller. - 49-61 5. Importance and Magnitude. — Weakness of characters. Distinguished heroes. Private persons. Degrading the art. -_-...- 61-66 iv CONTENTS. 6. Movement and Ascent. — Public actions. Inward strug- gles. Poet dramas. Nothing important to be omitted. Prince of HoDiburg. Antony and Cleopatra. Messenger scenes. Concealment and effect through reflex action. Efifects by means of the action itself. Necessity of ascent. Contrasts. Parallel scenes. - - - - 66-84 7. What is Tragic? — How far the poet may not concern himself about it. The purging. Effects of ancient tragedy. Contrast with German tragedy. The tragic force (moment). The revolution and recognition. - - - 84-103 CHAPTER H. — THE CONSTRUCTION OF THE DRAMA. 1. Play and Counter-Play. — Two halves. Rise and fall. Two kinds of structure. Drama in which the chief hero leads. Drama of counter-play. Examples. Spectacle- - _ - - play and tragedy. I 04-1 14 2. Five Parts and Three Crises. — The introduction. The exciting force (moment). The ascent. The tragic force or incident. Falling action. The force or motive of last suspense. The catastrophe. Necessary qualifications of the poet. .-.-.- 1 14-140 3. Construction of the Drama in Sophocles.— Origin of tragedy. Pathos scenes. Messenger scenes. Dialogues. Representation. The three actors. Scope of their work compared with modern actors. Same actor used to strengthen effects. Cast of parts. Ideas of preserved tragedies. Construction of the action. The characters. Ajax as an example. Peculiarity of Sophocles. His rela- tion to the myth. The parts of the tragedy. Antigone. King (EdipMS. CEdipus at C0I0710S. The Trachinian Women. Ajax. Philoctetes. - - - 1 40-1 81 4. Germanic Drama.—Stage of Shakespeare. Its influence on the structure of the pieces. Shakespeare's peculiarities. Its falling action and its weaknesses. Construction of - - - Hamlet. - - . - 181-192 CONTENTS. V The Five Acts. — Influence of the curtain on the modern stage. Development of the act. The five parts. Their technical peculiarities. First act. Second. Third. Fourth. Fifth. Examples. Construction of the double drama, Wallenstein. .... - 192-209 CHAPTER III. — CONSTRUCTION OF SCENES. Members. — Entrances. Scenes. Units of the poet. Their combination into scenes. Structure of the scene. Inter- vals. Change of scenery. Chief scenes and subordinate scenes. .-.--. 210-216 The Scenes According to the Number of Persons.— Conduct of action through the scenes. Monologues. Mes- senger scenes. Dialogue scenes. Different structure. Love scenes. Three persons. Ensemble scenes. Their laws. The galley scene in Antony and Cleopatra. Banquet scene in Piccolomini. Riitli scene. Parliament in Demet- rius. Mass scenes. Distributed voices. Battles. 216-245 CHAPTER IV. — THE CHARACTERS. Peoples and Poets. — Assumptions of dramatic character- ization, creation, and after-creation. Variety of peoples and characters. Germans and Latins. Difference accord- ing to poets. Shakespeare's characters. Lessing, Goethe, Schiller. - - - - - - 246-266 Characters in the Material and in the Play.— The character dependent on the action. Example of Wallen- stein. Characters with portraiture. Historical characters. Poets and history. Opposition between characters and action. The epic hero intrinsically undramatic. Euripides. The Germans and their legends. Older German history. Nature of historical heroes. Inner poverty. Mingling of opposites. Lack of unity. Influence of Christendom. Henry IV. Attitude of the poet toward the appearances of reality. Opposition between poet and actor. - 266-303 Minor Rules. — The characters must have dramatic unity. The drama must have but one chief hero. Double heroes. vi CONTENTS. Lovers. The action must be based on characteristics of the persons. Easily understood. Mingling of good and evil. Humor. Accident. The characters in the different acts. Demands of the actor. The conception of the stage arrangement must be vivid in the poet's mind. The province of the spectacle play. What is it to write effectively? ----- 303-322 CHAPTER v. — VERSE AND COLOR. I. Prose and Verse. — Iambic pentameter. Tetrameter. Trimeter. Alexandrine. Verse of the Nibelungen Lied. Dramatic element of verse. Color. - - 323-340 CHAPTER VL — THE POET AND HIS WORK. I. Poet of Modern Times. — Material. Work. Fitting for the stage. Cutting out. Length of the piece. Acquain- tance with the stage. _ . - - 341-366 BIOGRAPHICAL NOTE. Gustav Freytag, scholar, poet, novelist, critic, play- wright, editor, soldier, publicist, was born in Kreuzburg, Silesia, in 1816. Still living in quiet retirement in Wies- baden, he is one of the best known of modern German writers. His preliminary education was acquired at the Gymnasium of Oels, which he entered in 1829, at the age of thirteen. In 1835, he began the study of German philology under Hoffmann, at the University of Bres- lau. Later he continued this line of study with Lach- mann, at the University of Berlin, where, in 1838-9, he was given the degree of Doctor of Philosophy, on the presentation of a thesis on De initiis scenicce poeseos apud Germanos. Between this time and 1846, he was con- nected with the University of Breslau, as an instructor in the German language and literature. Having gained some notice, as the author of a comedy. The Bridal Jow-ney (1844), and a volume of short popular poems. In Breslau (1845), ^^ ^^ow (1847), i^ connection with Julian Schmidt, undertook the management of the politi- cal and literary newspaper. Die Grenzboten^ in Leipzig. He continued his literary work, and entered in earnest upon what has proved the long and honorable career of a man of letters. In 1847^ Valentine appeared, followed the next year by Count Waldemir, both society plays, evincing the author's dramatic power, and with his inclination toward viii BIOGRAPHICAL NOTE. the spirit, the dialectics, and the sketchy manner of the younger writers, showing his delicate feeling for clear- ness and purity of style, his skill in the conduct of the action, in dialogue, and his genial fresh humor. His next play. The Scholar, is rather a psychological study in a single act, than a drama. In 1854, his greatest piece, The Journalists, was first acted; and it is still one of the most popular modern society dramas represented on the German stage. Perfectly natural and healthful in tone, it abounds in striking situations, depicts with fidelity many important types of German character, amusingly exhibits social rivalries and political machinations, and affords abundant opportunity for the author's effective satire. Another play. The Fabii, appeared in 1859. Freytag's first great novel. Soil mid Haben (1858), translated into English under the title of Debit and Credit (1859), ^^s become a classic. In this, his view of human life is broader and his insight into the springs of human action deeper than in his plays. Its purpose is to show the value and dignity of a life of labor. It attempts to show that the active, vigorous life of a great German merchant is purer, nobler, more beneficent than the life of a haughty aristocrat, relying only on the traditional merits of his family; and, in this attempt, the author weaves a web of glory about the life of the ordi- nary citizen. A second novel. The Lost Manuscript (1864), in like manner shows the superiority of the scholar over the nobleman. The Technique of the Drama was written in 1863, and dedicated to the author's friend — Wolf, Count of Bau- dissin. The book has passed through six editions, and attained the rank of a first-class authority on the matters of which it treats, though now for the first time trans- lated into English. BIOGRAPHICAL NOTE. ix In 1862, Freytag began his famous series of connected historic tales, in New Pictures from the Life of the Ger- man People, continued the next year in Pictures from the German Past, and still further in 1876 and later, in The Ancestors, including Ingo and Ingraban; The Nest of the Hedge-sparrows ; The Brothers of the German House; Marcus King; The Brothers and Sisters; From a Little City, etc. These are all descriptions of German life, based on accurate research, and including periods from the fourth to the nineteenth century. Devoted to the glory of the German people, this, the author's most extensive work, makes an entertaining exposition of some of the noblest traits of German character. In 1870, he published a striking biography of his intimate friend, entitled Karl Mathy ; Story of His Life.
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